Two factors thus emerge as requisites of success in the field of creative photography. First, the subject must be photogenic. Second, its re-creation in a photograph must be based upon technical knowledge, guided and supported by artsitic inspiration.

Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

The first impression of a new subject is not necessary the best. Seen from a different angle or under different condition it might look even better. Always study a three - dimensional subject with one eye closed.

Any good photograph is a successful synthesis of technique and art.

With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.

Every successful photograph, except for lucky shots, begins with an idea and a plan. The more precisely a photographer knows what it is he wishes to do, the better the chances are that he will do it.